Paddy Johnson is the founding editor of Art Fag City. In addition to her work on the blog, she has been published in New York Magazine, artreview.com, Art in America, The Daily, Print Magazine, Time Out NY, The Reeler, The Daily Beast, The Huffington Post, The Guardian, and New York Press, and linked to by publications such as The New York Times, The Wall Street Journal, New York Magazine, Boing-Boing, The New York Observer, Gawker, Design Observer, Make Magazine, The Awl, Artinfo, and we-make-money-not-art. Paddy lectures widely about art and the Internet at venues including Yale University, Parsons, Rutgers, South by Southwest, and the Whitney Independent Study Program. In 2008, she became the first blogger to earn a Creative Capital Arts Writers grant from the Creative Capital Foundation. Paddy is also the art editor at The L Magazine, where she writes a regular column..

Poor Richard Phillips. When Marcel Duchamp first dragged that toilet into the gallery, no one knew it was art. Now, 100 years later, we don’t recognize Phillips’s photorealist paintings of female celebrities as the avant-garde trailblazers they really are!

Roberta Smith likes the New Barnes and believes the collection should be moved around from time to time. “Blasphemy!” say Barnes purists. Tyler Green says over Twitter that the idea that the collection wasn’t important when it was in Lower Merion is dumb. He’s right, of course, but who exactly is he arguing with? Smith never said that. [NYTimes]

Christopher Knight doesn’t like the new Barnes, but both he and Roberta believe the Matisse stairwell paintings suffer now that they’re not in a stairwell. AFC’s Will Brand noted this morning in the office that New Yorkers already have a Matisse in a stairwell. Is it really necessary to complain that much? [LATimes]

An interview with Lorna Mills on the Triangulation Blog. In answer to the question of whether posting GIFs on Google Plus is promotion, Mills says, “I only think of promotion as posting exhibition info on G+ and Facebook. The rest of the time I’m making GIFs to throw in the G+ streams, so it doesn’t feel like promo, it just feels like participating in a community of GIF makers.” [Triangulation Blog]

The New York Public Library prepares for the future in which all library materials become available through digital devices, and decides to rip the heart out of the central research collection. #longreads [N+1]

Support El Celso’s La Luz (The Light), an installation project in Peru. He’s got under $1,500 to raise. I pledged yesterday—you can too! [Kickstarter]

If you’re swinging by Seven this weekend (it closes Saturday), then you can also catch the tail end of the inaugural group show at the new Williamsburg gallery Reverse Space. The show features work by emerging artists, including AFC friend Armando Veve. [Reverse Space]

Are you a master’s student in art history overwhelmed by the quantity of your own opinions? Perhaps you're journalism student, with burning desire to report on the news. Either way, have we got a job for you!

No one does an art fair like Karen Archey: Her writeup on Rhizome hits a bunch of our favorites, starting with the Carissa Rodriguez – Pamela Rosenkranz pairing at Karma International and the Oliver Laric – Aleksandra Domanovic booth from Tanya Leighton. [Rhizome]

We also love Nicholas O’Brien’s eye over at Bad at Sports. We’ve pointed this out before, but Ben Schumacher is having a great year. [Bad at Sports]

Karen Rosenberg describes the work at NADA as “not particularly representative of the work you might see during a stroll through the Lower East Side or Chelsea”, on account of there being “plenty of painting and sculpture, less post-medium sprawl.” We don’t get it. The stress on painting is par for the course for art fairs, and our complaint was that many of our favorite galleries brought work we’d seen before. [NYTimes]

In only vaguely art fair-related news: buy up your powdered dead baby pills now, because China and South Korea are cracking down. [BBC]

Sasha Frere-Jones’s piece in The New Yorker about Adam Yauch is beautiful. It describes Yauch, but it also outlines what can’t be communicated about the New York he (and Frere-Jones) came from. [The New Yorker]

CUP seeks a teaching artist assistant to collaborate on an Urban Investigation in the Bronx this summer. [Welcome To Cup]

Better pick up your tickets to the Momenta Art Spring Benefit today; the party’s tomorrow, and there are only a limited number of tickets left. Your contribution ensures you get a one-of-a-kind art work and supports one of the more important artist-run non-profits in New York.